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The Dissolve Canon is an occasional feature making bold declarations about the greatest films in various categories. The 100 best films of the decade (so far). In an age when directing a comedy usually amounts to just pointing a camera at an ad-libbing star. Next Best of The best albums of 2015 so far Don't miss a story—follow The. The 25 Best Movies of 2015 (So Far) By Paste Staff . Golden Globe Requirements Change Following The Martian Winning Best Comedy April 20. The 25 Best Movies of 2016 (So Far). Best comedy movies 2012 so far, best comedy movies 2012 so far let The 25 Best Movies Of 2012 (So Far) Share; Tweet. Thanks to Mark Wahlberg’s best comedic performance yet. Top 2. 0 Best Comedy Movies Of 2. Let’s take a look at the biggest and best comedy movies of 2. Funny this year comes in the form of Sacha Baron Cohen as a dictator, Mark Wahlberg’s talking teddy bear, The Three Stooges rebooted, Will Ferrell in an all- Spanish language comedy, and Colin Farrell kidnapping dogs. That and so much more. Here’s the rundown of every significant theatrical release: – FEBRUARY –Wanderlust. Starring: Paul Rudd, Jennifer Aniston, Justin Theroux, Malin Akerman. Director: David Wain. Out: 2. 4 February 2. U. S. Dates)A straight- laced New York couple (Rudd, Aniston) leave the big city after he is laid off and unintentionally join a freewheeling new- age community, where the only rule is to be yourself. Produced by Judd Apatow, . Rudd has been this character many times before, which adds to the general . In truth it’s a well observed comedy that sometimes meanders a bit, but those who’ve never encountered the types of people portrayed in the community won’t see much humour in it, “dull” is a common reaction. The top 25 must-see movies of 2012. We’d still argue that the best R-rated comedy of the last five years has been David. So far, though, Total Recall 2012 doesn’t sound like a mere. The Best Films Of 2014 So Far. 20 were all overflowing with goodness). We’re half way through the year so here are my picks from 2012 hollywood movies, so far. The cast is made up entirely of unknowns but at $1. The story revolves around a group of kids documenting the house party that is meant to make a name for themselves, but as the night progresses things spiral out of control as word of the event spreads. Everything will be told from the point of view of the reveller with the camera. We haven’t had a good party movie for a while. He sits around contemplating the meaning of life while she does the 9- to- 5 office job. He can’t understand how his brother (Helms) gets any satisfaction from an . But Jeff’s world is shaken when he’s forced to leave the house to buy some wood glue, encountering a series of events that may lead to, possibly, unravelling the mysteries of his destiny. This is a lightly comic adventure with great understated performances all round. It may be too low- key for some. Think of it more as amusing and engaging character studies than laugh- out- loud comedy. Some called that series crude and inane randomness, others satirical brilliance. The feature film version sees Tim and Eric given a billion dollars to make a movie, but they squander every dime, and the sinister corporation backing it gets pissed. With their lives at stake, the guys skip town in search of a way to pay the money back. When they happen upon the chance to rehabilitate a bankrupt mall full of vagrants, bizarre stores and a man- eating wolf that stalks the food court, they see dollar signs—a billion of them. Featuring cameos from the likes of Zack Galifianakis, Will Ferrell, John C. Reilly, Jeff Goldblum and Will Forte. It has some laughs but it’s alienating and a bit of a grind for anyone who hasn’t seen, and loved, the TV show already. In short, it doesn’t work as a movie, but fans may still enjoy it. Armando (Will Ferrell) has lived and worked on his father’s ranch in Mexico his entire life. As it encounters financial difficulties, his supposedly successful brother (Luna) shows up to save the day, complete with new fiance (Rodr. But when Armando falls for her, and his brother’s business dealings turn out to be less than legit, all hell breaks loose and they find themselves in a war with a fearsome drug lord (Bernal). The story is told in an overly dramatic telenovela style and feature English subtitles. The idea is risky and fun, but is it better suited to a sketch? But they find that high school is nothing like they left it a few years earlier . The drastically slimmed down Jonah Hill is no less funny and makes a great double act with the surprisingly talented Tatum. Fans of the ’8. 0s TV series may be disappointed to see it redone as a comedy. Johnny Depp, the star of that show, makes a cameo. And 2. 01. 2 certainly has plenty of upcoming films we’re excited about—Jeff Nichols’ Mud, Josh Radnor’s Liberal Arts, Steven Spielberg’s Lincoln, PT Anderson’s The Master, Ang Lee’s Life of Pi, Tom Hooper’s Les Miserables, and Peter Jackson’s The Hobbit, to name just a few. Oh, and Christopher Nolan has some kind of small superhero movie coming out in a couple of weeks. But 2. 01. 2 has also blessed us with an unusually large number of notable films in its first six months. It’s a development we whole- heartedly support. Here are our favorites, from a lush documentary about sushi to a completely new kind of horror film, from a tiny Belgian character study to a superhero blockbuster. Here are the 2. 5 Best Movies of 2. January and June. Blue Like Jazz Blue Like Jazz follows young Donald Miller (Marshall Allman) in a tale of coming of age and crisis of faith, as he breaks free from his fundamentalist Christian life in Texas to explore the larger world via Portland, Ore. Donald works hard to separate himself from his past. He turns down the Bible college he was planning to attend and rebels by enrolling at Reed University. At this notoriously God- less school, he seeks freedom in booze, drugs, activism and some PG- rated hedonism. He struggles to fit into a world that is suddenly much bigger and scarier than he’d managed- all the while he grappling with the guilt of his background and faith. Led by the superb Allman, the cast shines. Allman’s Donald somehow maintains a boyish charm even as he grows more cynical and lost. As social activist Penny, Claire Holt deftly juggles both genuine optimism and self- importance as the girl who is always out saving the world while everyone else nurses hangovers. Tania Raymonde’s performance as Lauryn, Donald’s lesbian best friend, manages to be both caustic yet somehow warm. But director/writer Steve Taylor, co- writer Ben Pearson and Donald Miller are fully aware of the reputation Christianity has in contemporary America, and they neither deny or shy away from it. As a result, Blue Like Jazz deserves a serious look from audiences outside its target demographic. Sound of Noise. In the Swedish film Sound of Noise, directed by Ola Simonsson and Johannes Stj. These six drummers perform avant- garde movements from their revolutionary score, “Music for One City and Six Drummers”, in different locations utilizing everyday objects—a heart monitor, a shredding machine and even power lines, for example—in order to create a musical performance like no other. The film takes a whimsical and youthful approach to storytelling while also presenting a totally original idea. Though the stories focus on a single string of events and a small group of individuals, as a whole they are able to delve into and aptly dissect hugely abstract ideas such as art, personal expression, and family dynamics without reducing them into trite aphorisms or belittling their complexity. A Bag of Hammers A Bag of Hammers is like the funny guy at parties. He’s not perfect, maybe a bit of a lush and flabby around the middle, but you love having him around. The feature debut from Director Brian Crano follows two cheeky criminals as they steal cars from funeral goers. Ben (Jason Ritter) and Alan (Jake Sandvig) are best friends and felons, sharing the wit and maturity of teenagers as well as a mysteriously dark past. When an out- of- town woman and her son rent the house next door, the young men find themselves quickly drawn into a wholly different sense of morality as it becomes clear that the 1. Kelsey (Chandler Canterbury), is being badly neglected by his high- strung mother, Lynette (Carrie Preston). At first, the friends try not to be concerned and shrug it off as “none of our business.” It’s not long, however, before Kelsey becomes their business, and they have to become role models overnight. A Bag of Hammers is well shot and well acted. There are truly brilliant scenes that occur through out the film—watch for a particular hard- hitting monologue from Ritter to Chandler Canterbury’s Kelsey in the diner about two- thirds of the way in—and these are what give the film its shine. The Intouchables. Based on a real- life relationship, the odd couple of this film is composed of Philippe (Fran. White, black; rich, poor; immobile and extremely animated—Philippe and Driss are opposite in nearly every way. Their paths would never even cross were it not for the paperwork Driss needs signed to show he’s looking for work in order to qualify for state assistance. Tired of waiting to interview for a job he surely won’t get, he storms into Philippe’s office and slaps the form on his desk. Unable to move from the neck down, Philippe of course can’t fill it out, so he asks Driss to return in the morning. Impressed with Driss’ forthrightness and the fact that he actually comes back the next day, Philippe offers him a job. It’s the best thing to happen to both of them. Energetically paced by editor Dorian Rigal- Ansous and scored by Ludovico Einaudi, the immensely enjoyable Intouchables hinges on this central relationship but also broaches social taboos with a politically incorrect wit that flays what’s considered off- limits: socioeconomic disparity, race relations and especially physical disability. The filmmakers aren’t afraid to “go there,” and that they do elevates the sincerely feel- good material to larger cultural relevance. Under African Skies. Director Joe Berlinger’s fascinating, immersive documentary Under African Skies celebrates the 2. Paul Simon’s landmark Graceland album and also examines the firestorm of controversy that it ignited. In 1. 98. 5, Paul Simon traveled to Johannesburg, South Africa, to meet and record with the black South African musicians who had become a kind of inspirational obsession for him. Nine days in South Africa and subsequent sessions in New York and London culminated in the five times Platinum, Grammy- winning cultural touchstone Graceland. While the album’s musical excellence was nearly universally praised, there were accusations that Simon’s pastiche of South African music with his own melodies might be more a case of cultural imperialism than of collaboration. To his credit, Berlinger presents all arguments impartially and leaves the viewer to come to his or her own terms with Simon’s motives and actions. The emotional core of this film, however, is the jubilant, gorgeous music and the musicians who created it. We are presented with electrifying performance footage, both from 1. Simon and the true center of the Graceland sound—guitarist Ray Phiri, incomparable bassist Baghiti Khumalo, and drummer Isaac Mtshali. What unfolds is remarkable. By film’s finish, when Tambo and Simon embrace, it is evident that, differences aside, at the end we are left with the music. And the music is damn good. Pizza Hut - Buy and Order Pizzas Online. Pizza Hut, Inc. All rights reserved. Food shown are for illustration purpose only. Actual product may differ from the images shown in this website. Prices indicated above may vary from store to store.*The Pizza Hut name, logos, and related marks are trademarks of Pizza Hut, Inc.
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September 2017
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